A conversation on ~ the power of doing nothing

[00:00:03] Speaker A: This is Yaya Nene ne and for the coming 4 hours we invite you to listen to a broadcast called the power of doing nothing. It is the first part of two events initiated by Petra Heck and Margarita Ossipion, looking at rest as a space for reclamation and resistance. My name is Radna Rumping and together with Margarita and Petraeus I will guide you through this radio show that was recorded on May 13, 2020 in the center of Amsterdam, when part of the city was still in lockdown because of COVID-19. During this show you will hear artists contributions from Naville Acosta and Fanny Sosa, Natalia Dominguez Rangel b Natasha Papadopoulou, Emmeline de Moi, Rory Pilgrim, Naomi Crede with Melissa Kanyez Sabus and Aiden Wall and Jojin Lee. But first, let's listen to an introduction by Margarita and Petra. [00:01:12] Speaker B: The power of doing nothing is a project exploring the act of resting and the politization of sleep, questioning the politics behind who gets the rest of the exhaustion of activism the and its necessity, and whether the act of doing nothing can be a productive power by itself. Today is part one, listening to the power of doing nothing. The broadcast will guide and invite listeners into seemingly unproductive states, putting into question whether unproductive actions can be productive and powerful. Through these acts, together, we can quietly reflect on and internalize how we understand notions of unproductivity, of doing nothing, as Neville Acosta and Fanny Soza propose with their work. Black power naps a space of rest could be a physical space where one can rest and sleep, but it can also be a mental space, the ability to rest. They write that sleep is also a space that can be subverted and reclaimed as a space for liberation and resistance. [00:02:26] Speaker C: Even though it might sound as if this project was made up specifically for this current time. We actually started this project last year around June of 2019, by looking at the installation and project Black Power naps by Novild and Fanny and the installation attempting a nap by Emelina de Mouy. However, the current situation has created even more of an urgency to talk about who gets to rest, or perhaps has just made the productive body and the precarity of work and housing more visible for more people. It is also the time to create spaces and moments or hours even where we can empower ourselves by seemingly doing nothing. Where can the productive and the laziness meet by retreating from or inverting ideas around automated labor productivity and the very concept of laziness itself to think about, care about yourself and others? The illustration that you see on the event pages online is from Jinan, a DJ, illustrator, and spoken word artist from Frankfurt. This illustration was first shared with us by Joy Mariamma Smith, and it was inspired by the black Power Napp's work and the NAP ministry amongst others. The title of the illustration is bao bao gao gao, both of which are sacred words. Bao Bao was one of the first words Jinan ever learned, saying it to their mom when they wanted to be hugged. It meant to be embraced in warm and loving safety and to forget everything else for a moment. And gao gao is the hakka word for napping or resting. The piece has a beautiful story connected to it about migration, food and community, and I just touched on a little bit about it. So you can read more on Janan's instagram account and you'll find the handle shared on this event page and across our social media. [00:04:20] Speaker B: This broadcast is lingering somewhere between active rest and productive laziness, with contributions by artists with different practices, approaches and modes. Some contributions are sound pieces, songs, some you can participate in. Some contain more text and stories than others. You can already search for a piece of clothing or a sock that needs repair. For the contribution of Emmelina de Mouy for the breathing meditation by Natasha Papadopoulo it could be helpful to make some notes during the introduction of that piece to remember the different names she uses for body parts. And there will be a recipe towards the end in the piece by Melissa, Naomi and Aidan for a sluggish mossy panna cotta. [00:05:11] Speaker C: You can listen to this broadcast while making soup, while lounging around, while sitting outside in the sun, if you're in Amsterdam, we have a really beautiful day today. While slowly cleaning, while hanging out on your balcony. [00:08:14] Speaker D: Music and Cannon museum human fighter of. [00:09:23] Speaker E: Delinian Utria no. [00:09:28] Speaker D: The artist. [00:10:28] Speaker C: Viennese acoustic transition from Natalia Dominguez Rangel during this quarantine time which many of us all over the world are in. Natalia started a couple of projects, two of them we're going to listen to during this broadcast. What we just heard are recordings Natalia did between the 15 March until the 10 May. The sounds are still an experiment of listening processes. We heard the opera house when the performances were supposed to start, some sounds from the hospital which are still ghost towns, the first days of being able to meet in small groups outside, and a few other viennese hotspots. You can find the full list of all the recorded spaces and when they were recorded on our website. [00:11:14] Speaker B: The next contribution made for this broadcast is called breathing meditation by Natasha Papadopoulo and it's about 15 minutes long. Breathing or respiration is a fundamental physiological action divided in inspiration as she calls it. Inhale and expiration. Exhale naturally. Breathing is crucial and got even more urgent in times of corona and good to keep in mind is that you get oxygen by exhaling instead of inhaling. The Anastasia method breathing meditation is a circular breathing technique to in the end, release air with effortless efforts. The act of effortless effort is a natural law of nature. It's based on the fact that nature functions with effortless ease and abundant care. Freeness, as Natasha says. The moment, as Natasha calls it, is a space where the physical body is functioning under the parasympathetic resistance sector. A rest and digest, relax and restore mode where most of the vital organs are regenerating and glands of the endocrine system are producing neurotransmitters and hormones such as serotonin, dopamine and oxytocin. In short, the moment is the time where the body serves itself a mix of happiness cocktail hormones. In Natashas social interventions and verbal associations, she uses and appropriates the language and the methods of the wellness industry. And before we can start the meditation, I have to mention a few translations of the Anastasia method terminology. When Natasha mentions the inspiration point, she actually means the walls of the reproductive system. She speaks about the talent point, which is the navel center. The emancipation point is the diaphragm or the solar plexus. The liberation point is the heart chakra, the creation point is the throat chakra. The superior imagination point, the third eye point, and the annunciation point is the top of the head. The crown chakra. The knees is the nose. And when she speaks about once, she actually means the mouth. The desire is the tongue, and lies are the eyes. Luck she means with the palms of the hands. And the parasympathetic resistance sector is the parasympathetic division of the autonomous nervous system. Well, join in for a breathing meditation or just listen to it. [00:14:29] Speaker E: Hello and welcome. This is a guided breathing session by the Anastasia method. We're here to change the chemistry of our beliefs and learn to believe in the moment. We will do three rounds of inspiration and expiration where we inspire from our needs and we expire from our wants. With effortless effort. We will do this about 15 times. And on the last exhale we will hold the air out. After about one and a half minute we will take a rebound inspirational inhale. And here we squeeze our inspiration point in order to shoot the energy through our talent to find our emancipation so we can open up our liberation and create our creation. And through our superior imagination we will reach the thoughts kingdom. Because that's where beliefs are getting made. Let's go ahead and find a comfortable position, preferably on the floor where we close our eyes and try to go deep within. Are we ready? Let's get started. Round number one. Breathe in, breathe out. Breathe in, breathe out in what you need and out what you want. In and out. Just go with the flow of the breath in and out. In with inspiration and out with emancipation. In for everything you need and out for everything you want. And like this in and out like a wave like curve. Make it circular and secular feel expandable and excitable feel it in and let it out. Dive in and shine out believe in, live out and blend in with the moment and take it all the way in fill it up and take it all the way in and find the way out and check in with your best case scenario and fill it in and throw it out. We have ten more to go, so live it up and fill it up. Throw it out and be loud and be sure you ready. So we'll take a huge inspirational inhale and we let it out and we stop. This is one and a half minute of living in the moment. Do nothing. Surrender to nothing. You've done everything. Just relax. Let this nothing spread all over and believe you have everything you need. You are lacking nothing because this is the moment that your cells are celebrating. If you feel the urge to re inspire, just swallow your desires a couple of times. We have time. You've done amazing. It's 30 more seconds of absolutely nothing. And whenever you're ready, we will take the biggest inspiration. Inspiration we've ever done before. In three, two, one. Take it all the way in and squeeze your inspiration point. Feel your talent exploding up to find your emancipation and liberate your liberation and find your creation. To reach up to your beliefs, past your thoughts and make them sparkle. And we expire in three, two, one. Just let it go. Okay, round number two. Back into a rhythm. In and out inspiration and expiration. It's a long continuous movement of in and out. Dive into your knees in the infinite beliefs and in with intense intentions and in to install the new versions of you in to inflate your talent in to find the right insight and inquire the maximum of this moment in to involve with the magic within to incline towards your best new ideals in to infuse all your moments with passion in to intrude boredom with excitement in to include infinity in. To inflect the change you want to be in. To inflict the change to the world with effortless effort. Out. To reflect on and upon and in to intend to feel and fulfill yourself in every possible way. Breathe in to all your possibilities opening up one by one. In, in and out without intermission and only a mission to extrapolate your power to feel the moment. We have three more to go. So all the way in and out. Let your ideals just flow and feel what you can live without. And is the last one. So this is the one to fully end all the way in and release and let it go and just stop. This is another one and a half minute of holding on to the perfect moment. From now on, prolong your expiration date. Become inexpirable. This moment is about doing nothing. This nothing means a lot. Everything came from nothing. And everything will return to something. So let's just stay in everything. And whenever you're ready, we will take a huge inspiration. In, in three, two, one. So fully in, squeeze your inspiration and hold your expectations and fill yourself with your potentials. The moment is right, right here, right now. About now. Give it to me now. All of it. Now. My moment, my time, my perfect timing. And we will exhale in three, two, one. Just let it go. Let it go. It's all here. [00:24:37] Speaker D: Now. [00:24:40] Speaker E: Round number three. Let's go back to our rhythm. Breathe in, breathe out. Inspire. In, expire. [00:24:51] Speaker D: Out. [00:24:54] Speaker E: In and outstretch your powers. In and blow out like you deserve and outlive your desires and outshine your past. In to outcast all fears all the way in and shout your energy out. In and come out from all the closets and believe in and out and about. In and out on every limb. In to come out and way ahead in to input intimacy and out to output innovation. In with a new look and out with a new start and believe in to become outlandish and all the way in to become outstanding. This is the last five. So in to live to become outrageous. Take it all in to outperform your past self and outshine your expectations. This is the last one. So take it all the way in and exhale and stop. This is your last chance of living in this moment. Out loud. So embrace it. Do nothing. You've done enough. Now just enjoy it. Let the moment absorb you, let it consume you. And we will inhale in three, two, one. Fully in all your inspirations and all your expectations. Just push it all in. Hold it in. Let everything fill you up and clasp your luck fulfill your destiny with high frequencies because right now, nothing else matters. Squeeze the matter of your gray matter. Become inexpirable. Hold it in. Stay fresh forever. This is the moment you were waiting for. So hold it in for a little longer. Just a little bit. I promise it's worth it. And we will exhale in three, two, one. Just let it go. [00:28:34] Speaker D: Let it go. [00:28:37] Speaker E: Do nothing. You've done it all. Let your inspiration slowly return to normal. Just let it be. It intuitively knows how by now. And whenever you're ready, you will slowly move your intrinsic motives and then slowly you will open your eyes to face the outside world. If you like this guided breathing session, we have more for you at the Anastasia method.com. So log in to begin a perfect body of work within. See you there. [00:29:43] Speaker A: So you just listened to the breathing meditation by the Anastasia method, aka Natasha papadopoulo. I got super curious when she mentioned also that there are more guided meditations. And when we listened we also got a little bit confused because we thought that that this gong sound that we heard was maybe my email program still running. But that wasn't the case because the sound was actually part of the piece which also made me realize how strange it is that, you know, we use this kind of sounds for email notifications or other kind of notifications that you could also use. You know, the gong is often used in meditation or in start of a yoga session. Yeah, it is double. [00:30:35] Speaker B: I prepared you for a new email. [00:30:37] Speaker A: Yeah. So it really made me a bit confused. Yeah. Do you meditate petra? [00:30:45] Speaker F: No. [00:30:46] Speaker A: Did you try to? [00:30:48] Speaker B: I actually never. I mean the only times it was sort of part of a yoga class which I'm also not very good in consistently following. So no. And also this I actually only listened to. So maybe tomorrow there's time to actually practice it and use it, I think. [00:31:16] Speaker A: Yeah, I think it's also a different experience to listen to this radio broadcast compared to hosting this radio broadcast. Maybe I prefer to listen to, but I also like to be there for the listeners. Margarita, do you meditate? [00:31:32] Speaker C: I always say that I'm like, I keep kind of failing at meditation because I keep trying and I find it really hard. It also is like a kind of work which I think in a way people know, but you always want meditation to be something that just kind of comes naturally to you. But there's so much labor also involved and trying to get out of your head and learn different ways of thinking and focusing on your body. So I'm doing my best. I use a little app and I try, but the app also sends me notifications every morning that I should be meditating in the morning, which also adds another level of stress. This kind of, that you feel like you're not meditating enough or that you're not taking care of yourself of enough, which I think a lot of people are kind of feel, especially because, like, a lot of these apps, they really are tied into the kind of corporatization of meditation and self help and all of these things. So it's like, how do you untangle those elements? It's really hard. You want something to guide you, but then you're also, like, buying into this system that's kind of built on the fact that we need to, like, escape and get out of often these, like, very hectic lives that we lead. [00:32:53] Speaker A: And it's also on the same, let's say, carrier of the emails, you know, the phone, I mean, as where the app for meditation is, but also where the app for emails or for your branch account or for other things is. It reminds me of someone. Yeah, I once talked about some of these meditation apps, and this person said, oh, yeah, no, I use that. I do the ten minute one every day when I'm in the car. So it's also, it becomes a kind of what is the most efficient way of meditating? [00:33:26] Speaker B: Natasha also mentioned that the Iceman, you know, the guy who gets in the freezing water to sort of cure his body, he also uses this breathing method, but it's actually like a really ancient method and not something that he actually invented, but he claims it to have invented it, or that it's sort of like his way of breathing, really. Yeah. Dealing with things also. And his body. [00:33:58] Speaker A: What I like is listening to music sometimes. So I don't do this meditation, but I do a kind of writing exercise in a few months where you write three pages by hand in the morning. It's called morning pages, and it sounds. Yeah, like labor. But it is really intended that you just write what's in your head and you write it out so you don't have these thoughts. So it's a way of meditating also. But then I like to use, like, kind of ongoing music with. And that maybe is my way of meditating. [00:34:31] Speaker C: And do you get, like, a prompt of what you should write in the morning, or it's just what's in your. [00:34:37] Speaker A: Mind and you are not supposed to read it back. Either throw it on the page and then you get rid of it, almost. [00:34:45] Speaker C: You throw it away as well. [00:34:46] Speaker B: Like the paper. No, I think you put it on a pile. [00:34:48] Speaker A: It's a lot. Yeah, it's a big pile now. Yeah. [00:34:51] Speaker B: But you're gonna burn it, like, ritually. [00:34:53] Speaker D: After a year or two or publishing. [00:34:56] Speaker A: No, I'm not going to publish it, but I got inspired by an artist who did publish it. As an artist, I'm collaborating with Sens Murray Wasink, and he made a book out of his morning pages, but he doesn't edit himself, so he's very open also. But I wouldn't do that. I think. Yeah, I think we're going to listen to some music now, right? [00:35:17] Speaker G: Yeah. [00:35:19] Speaker B: For the power of doing nothing in Rory pilgrims, three music tracks which, according to him, explore moments of power and powerlessness. And his work is centered on emancipatory concerns, trying to challenge the way we come together, speak, listen and strive for social change. Personal experiences are crucial in his practice, and sometimes something you can really sense. Watching his work and listening to his music, he's influenced by activist, feminist and socially engaged art, and he likes to make connections between activism, spirituality, music, and how we form a community locally and globally. And one phrase he likes to hold onto, and which he heard multiple activists say, is, it might not happen in our lifetimes, but we keep on fighting. [00:36:16] Speaker A: Yeah. [00:36:16] Speaker B: Perhaps a sort of balance between power and powerlessness. And two of the songs, the first one, the towel, and later on three waters, are coming from his work. The undercurrents, wherein a group of activists explore how climate change interconnects with other aspects of their lives, including their family, difficulties with religion, friendship, fighting for gender equality, and the essential need of a home. The following song, written by Rory, is being sung by 14 year old Ida ho singer Declan Ro John. And Declan sings of a bleeding heart, the need to flee and a desire to heal. [00:38:02] Speaker D: There's a hole in your heart there's a hole in this incense, baby there's a hole in your heart there's a hole in this incense Baby, baby catch fire when you breathe in hard for the sleeping so tend to at last and stop it from leading a hole in your heart we can't even feel it but it hurts, it hurts backwards forwards green words backwards for there's a hole in your heart there's a hole in this engine, baby there's a hole in our heart there's a hole in the senses Baby, baby drive away, drive away now drive a car really fast drive away, drive away, drive away, drive away so attempt to you feel it but it hurts, it hurts backwards forwards green world backwards forwards green words bring a towel bring a towel to the water, bring a towel and keep it dry bring a towel, bring a towel to the water bring it to keep it shy me. [00:42:45] Speaker C: I just was thinking after listening to Petra's introduction to Rory's song about this idea that it might not happen in our lifetimes, but we have to keep on fighting. And it brought me back to to the quote from Sara Ahmed that is kind of used to introduce the event when we wrote about it online. And this is from her blog, her research blog, that she has called feminist Killjoys. And she says, I have been thinking about that, how sometimes we have to stop what we are doing to feel the true impact of something, to let our bodies experience that impact the fury of an escalation, injustice, a structure as well as an event, a history, an unfinished history. Sometimes to sustain your commitments, you stop what you are doing and then further down, right towards the end, she writes, there is only so much you can take on as there is only so much you can take in, and we can't take everything on, we can't take everything in. That also ties in a lot of ways to the next recording that we're going to listen to, which is a live recording of a performance of choir of the slain, which took place in the winter of 2019 during the Black Power Naps exhibition at Performance Space New York. Black Power Naps is an installation, but also a whole universe, a utopia, created by Neville da Costa and Fanny Sosa. I'm going to quote now from the text on the performance space New York website about the installation. In our society, relaxation and rest is a luxury reserved for the privileged and rich. Recent studies have shown that the distribution of rest is determined by race, with people of color regularly getting less sleep than white people. Neville da Costa and Fanny Sosa's Black Power Naps is a direct response to the sleep gap, which the artists see as a continued form of state sanctioned punishment born from the ongoing legacy of slavery, reclaiming idleness and play as sources of power and strength. This installation takes over performance spaces, large theatre and invites people of color to break with constant fatigue by slowing down, resting, and interacting with soft, comfortable surfaces. End of quote. So with this project we're building on and inspired and educated by the years of work that have been done on these topics, by Navild and Fanny, questioning the politics behind who gets to rest, the exhaustion of activism and its necessity, and whether the act of doing nothing can be a productive power by itself. So when you listen to this piece, try to imagine being inside their installation, lying on the soft surfaces, the gently vibrating beds. [00:46:52] Speaker G: Required. [00:46:53] Speaker D: There's total divestment from what is largely expected of a negro. Invest. Transvest real rest. Don't do what they want you to do. Step away. Fuck them. Fuck their expectations. Two successfully sleep. A negro must unlearn all that drives our inclination to please and appease others. If you sleep, you may disappoint, but who gives a shit? They're not your mama. To be black and to be conscious in today's society is exhausting. Take a step back from being woke. Take that black power nap. It is the full acceptance that you will disappoint simply by saying no and taking a nap instead. Sleeping is a white man's worst nightmare. Around arrested Negro is a white man's worst nightmare. Rejuvenate. Take some time. You deserve it. Disappointment is a part of life. Might as well sleep through it. To sleep while Negro is full of the deadly fictions that haunt us. After all, the most punished crime during slavery was to fall asleep during daytime. They really beat us for sleeping. It's the fact that. Good bed, sweetheart. Don't worry about those fools. Sleep knowing that your ancestors that couldn't sleep to honor knowing that you can from the police need to be called to. She has behavioral issues. To staying woke. You are not lazy. You require and deserve sleep for existing in this time. And so what if you're lazy? You deserve it. Existing in this lifetime is exhausting. Take a fucking nap. You must sleep for your ancestors in blood who could not in the past and cannot in the moment. Dear grandbaby. Sleep, bitch. It's your time. Love, grandma. Sleep. You're under work. Underpaid, overworked and underpaid. You always have to be the best in a room. Take that. Damn. Now you must sleep for your future. Napping is a long term investment. Napping is an investment into yourself, into your own future. Don't worry about working for these fools. Put a nap in the bag. Try if I, Nicole. [00:53:50] Speaker G: Chica. [00:54:40] Speaker D: Give my son and come. I see. Dawah. The dreamscape for a negro is wild. The possibilities of how and what we dream are limitless. So what about the nightmares of a negro? This is where waking life and sleep do not fully pronounce themselves as separate or a negro. In objection. Now I want everyone who is looking at me now look towards the center of the stage. The cognitive dissonance and and distortion of reality inflicted on us by racist systems is better described as a waking nightmare. We have made light of what it means to code switch. Yet the our task is laborious and similarly surreal. Our dreamscape matters. Our dreamscape matters. Our dreamscape matters. Matters. Matters. Matters. Matters. Let us make room for the other dreams, the ones that are fertile ground for creation, creating the selves who thrive and live long lives dreaming wide while reckoning with the truth that we are structurally awakened from this dream. May we also always remember that they are where we download our inherited ancestral knowledge and methodologies. I'm a monster. I am alien. Who are the outsider? I'm an uncitizen. I am the alien who are the outsider. I'm an uncle. I'm the teenage hookah. I'm the single mother. Hello, nice to meet you. Let me make you feel at home. I'm the barbarian. I am the criminal. I have a color monster. Everybody. I am the alien. Everybody. I am the outsider. I'm a non citizen. I'm a non citizen. The non citizen. I'm a monster. It has never ceased to exist. Our joy will inherit the universe. That is a fact. Joy in the face of structural present, structural oppression, structural pressure. Let's bring again this invention of our diaspora kind. Our drawer is also the first under attack in a production based society that was first known as, and to this day remains, a slave republic. Never mind who the slaves and who the masters are. That sleepless narrative no one wins. Make sure you forget, in that structure, our jews are repressed. But black joy is the reclamation and the transformation. I'll take care of me when I die we, like God free. Nice to hold when I tired there's a ghost on the horizon wish that I go to bed how can I fall asleep at night? How will I rest my head? Oh, I'm scared of the mistake in the place between light and nowhere I don't want to be the one left in there left in there there's a man on the horizon wish that I go to if I fall to his feet will I rest my so here's hoping I will not trouble or Paris lies in life and I've sinned I don't want to go to the see what to share I hope there's someone who'll take care of me when I die will I go? Hope there's someone who'll set my heart free nice to hold when I'm tired hope there's someone will take care of me when I die will I go? And hope there's someone who will set my heart free nice to hold when I tired tired if I fall tired that black pleasure is black pleasure is divine black pleasure is alive black pleasure is disruptive in that it shows where the cracks in perception are. There is no room for it in the hetero, hetero heterosexual fiction. So we must make room for it with vibration and peace, whether it's in our voice, in our toys, in our music, or in the jiggle of our curse. Black pleasure is inherently vibrational. After all, what are good vibes if not the place where black pleasure resides? Take a deep breath in and release. Take a deep breath in and release. One more. And release. Black rest is the unique intersection where the circumstances line up precisely to invoke a rare vortex of joy, pleasure, and rejuvenation. A negro. It's made of the fabrics that lines the sky when the sun goes down to die every day to revive. Some say it's as big as the cosmos, yet it can be found in the cosmos calmly breathing. Release. Black child. Black rest is where so many keys are stored for structures whose doors are closed, structures who windows are opened only for those who can contort themselves in. Black crest is what happens when there is no part of us of us, of us, of us let's begin. Time to survive. Black rest is what happens when we thrive. Everybody say it amen oh, everybody say it amen, amen, amen hello. Amen, amen, amen, amen, amen. [01:32:23] Speaker A: All you. [01:32:23] Speaker D: Need amen, amen, amen, amen, amen. [01:33:09] Speaker G: Wow. [01:33:10] Speaker C: That was such a powerful piece just to take you out of it. I just want to credit everyone that was there. So the performance features Naville, Sosa, Najee, Ashley and Jordan. The songs that were sang, chanted, and performed were Duerme Negrito, I'm a monster, hope there's someone mask off classical cover and end men. And the texts we heard, which were written by Neville da Costa, were black sleep, black dreams, black joy, black pleasure. You can follow and support Neville Densos work. You can find them on Instagram or through the Black Power Naps website to keep them going and supporting the really amazing and important work that theyre doing. The next piece that were going to be listening to is actually the second piece from Natalia, who I introduced at the beginning. Natalia's work connects very closely to critical listening, anything related to the characteristics of sound and all physical qualities that articulate space. The piece that we're going to hear etude two between the natural and the artificial is part of a larger series of work. The artificial and the natural plays an important role in Natalia's practice. She plays with digital mimicries of ministry, extractions of natural acoustics or biophonies or anthroponies. Through this period of silence, when our human noise print was dramatically reduced, she felt the need to tune in with different environments by listening and communicating via different technologies, such as the voice, body, sound, hardware and software. So how do we perceive and listen to these two realities? Etude two consists of field recording of diverse churches done throughout the day when there is no service and churches are mostly empty. The churches you're going to hear are the St. James Church in Brno in the Czech Republic, Stevens Gerk in Nijmegen in the Netherlands, and Marie Zell Basilica in Mary Zel in Austria, intertwined and orchestrated with Natalia's voice and movement in different digital acoustic rooms. [01:35:33] Speaker D: It sa. [01:42:27] Speaker A: You'Re still listening to the power of doing nothing on yay nay nay nay. And we just heard the piece etude de or two, I don't know, by Natalia Dominguez Rangel. And it was partly recorded in churches. And the nice thing is that we are currently broadcasting not from inside the church, but very close to a church, because we're in the studio attached to the Aude Kerk, the old church in Amsterdam, which is indeed the oldest church of Amsterdam, but is also located in the historic center, which is also known as the red light district. So we are surrounded by the known red lit windows where sex workers usually work, but where it's very quiet now. So when I thought about the peace, but also this different moment in time, thinking about rest, thinking about labor, some people might experience this moment of a lockdown, for instance, as a moment for rest, but I think most of us didn't experience it like that. Some people are not able to work, but that still wouldn't mean that there is time for rest, because it can also be very stressful not being able to work. But it does do a lot with also public space or the sounds of a space. So looking outside of the window, we see many windows with red curtains and no people. But I also see some guys on the street in the sun, drinking a beer together, who, well, when we would have been here a few months ago, wouldn't have seen in this way, because usually the street is crowded with tourists or people visiting sex workers. So it's a very different environment suddenly. How do you experience it? Because I've been here often, but for. [01:44:38] Speaker B: Me, this was actually the first time to cross the head a because I live in the north and I work in the north. [01:44:49] Speaker A: So you haven't been much to the center of Amsterdam? [01:44:51] Speaker B: No, not at all. And actually taking the ferry was already like a sort of weird experience and quite crowded, but it felt so relaxed now, the red light districts, it's really. [01:45:03] Speaker A: Nice, but also a bit eerie in a way. A bit of a ghost town. [01:45:08] Speaker B: Yeah, totally. A sort of. Yeah, out of place. Whereas, I mean, I live close to the NESM, and it's a very family sort of neighborhood where it seems almost like sort of a holiday with all the kids playing outside the whole time. So it really depends, I think, on where you're based or sort of what environment you're in, how it feels and changes, and also your perception. I mean, I work at the NESM, and that also has been very empty because there were no festivals, no events, a lot of street and graffiti artists, but a very nice sort of relaxed feeling. [01:46:01] Speaker A: How is your environment, Margarita? [01:46:06] Speaker C: Well, where I live, it's actually fairly quiet because it's on the edge of the city in the balmer, so it's not as hectic. But it has felt interesting to go through the center again and not have that stress of trying to get through crowds of people on bridges. So I feel like you experienced the city in a new way. I mean, I've been living in Amsterdam for over ten years now, but even at the beginning of that time, there was still quite a lot of tourists. So I think it's quite beautiful. You really see the people who live in the city, and it's not like, overshadowed by everyone that's coming in from all over the world to sort of congregate in this one little tiny area of canals. Yeah, but what's. I think it's interesting what you asked me, because it kind of ties in with Natalia's work as well, because she has this project where you. She's asking people from all over the world to record this time of quarantine. So people can just send in like a one or two minute audio recording of their environment, wherever they are from between like 05:00 p.m. And midnight, something like that. And I did that also myself. And it really forces you to listen to your environment in a new way, especially if maybe you're not. Not working a lot with sound. It forces you to kind of have a new perspective. And it was. Yeah, it was actually quite, quite a nice project. So I do also want to invite people to submit their work. Submit their work? To submit an audio recording, then it's becoming a work, and then it becomes a work. And everyone is credited, of course. And Natalia is aiming for 1000 recordings to come in. I think she's around 300 now. So you can all pitch in a little bit and send in a little piece of what your environment sounds like. [01:48:04] Speaker A: So she wants those recordings always taking place in the evening, but not the whole duration. Right. You take a moment or something from. [01:48:13] Speaker C: Yeah, you just take a little moment. [01:48:16] Speaker A: And are you doing very different activities, for instance, in the evening, compared to your regular, or how your regular life was maybe before? [01:48:30] Speaker C: Yeah, sometimes I'm maybe cooking more or baking more. [01:48:35] Speaker A: You just arrive with a cake. [01:48:36] Speaker C: Arrived with a cake. [01:48:38] Speaker D: Very nice one. [01:48:41] Speaker A: Yeah. [01:48:41] Speaker C: I'm used to, like, going to art openings and things at night or performances. So you kind of. That part goes away, but then you've always filled with something else. I also started, like, teaching myself how to knit a sweater. That's the other thing I do in. [01:49:00] Speaker A: The evening, knitting sweaters. I think I didn't do any. Any new activity. I know I didn't learn any new skill yet. I was also asking because I think the next piece is relating a bit to knitting or, you know, a way of spending time mending. I love that word. Actually, it's a word I don't use often, but it's the piece by Emmeline de Mouy. And I'm looking at Peter because you have more information. [01:49:33] Speaker D: Yes. [01:49:35] Speaker B: Emelina is working on a resource research projects called the Feminist Needlework party, involved in studying, repairing, patching up, unlearning and mending. In actions and workshops, they look at care maintenance and repair, and she will in a minute be going to tell about wool spinning witches, disciplining the body and soothing needlework, about how textile production has very often been associated with reproductive labour, with which is often seen as unproductive labor. So get yourself a piece of clothing or a sock that needs some repair and start repairing while listening to the stories. Of course, you are also allowed to not do that and just listen and see how you feel working on that. This could be seen as an exercise and embodied practice of care, maintenance and repair. [01:50:36] Speaker F: My name is Emeline de Moy, and I'm going to read some stories to you. Stories ranging from wool spinning witches to spider Woman and home decoration. These stories all have to do with the history of textile production, which is very much a history of reproductive labor, unpaid care work, mostly performed by women. I recently, together with my colleague Margate Sweers, initiated the feministe Handwerk Partei, the feminist Needles party, which stems from a mutual longing to start exploring these kind of histories together with other people. The feminist needlework party is a political feminist artist movement that is dedicated to studying, repairing, speaking, patching, up, unlearning and mending. Through the act of repairing textiles, we are connecting with the underexposed, long standing history of women in which textile production was a daily reality. During our gatherings, we allow needlework and studying to become completely intertwined. Through our activities, we mean to realize a higher level of appreciation for care, maintenance, and repair. Care is invisible work, often taking place in the domestic sphere and often unpaid for. It is diametrically opposed to concepts of innovation, autonomy, the myth of the independent genius, and the epic story of the hero. Care is about dependency, about intimacy, about rituals, about recovery, about managing to keep things going, about living together, being sick together, and dying together. So feel free to go look in your house right now for a piece of clothing that needs repair. I can really recommend doing repair work while listening to stories. The history of textile production is also related to the marginalized history of women. [01:53:55] Speaker D: Only. [01:53:56] Speaker F: If you look at the amount of time spent on textile production in the recent past, it took up more time than taking care of children and other housework chores together. To illustrate this, I'm going to read from a text written by Elizabeth Wayland Barber called a tradition, which reason? 30 years ago in rural Greece, people wore store bought, factory made clothing of cotton for daily wear, at least in summer. But traditional, festive outfits and all the household woolen were still made from scratch. It takes several hours to spin with a hand spin on the amount of yarn one can weave up in an hour. So women spun as they watched the children. Girls spun as they watched the sheep. Both spun as they trudged or rode mew back from one village to another on errands. The tools and materials were light and portable, and the double use of the time made both the spinning and the drudging or watching more interesting. In fact, if we reckon up the cleaning, spinning, dyeing, weaving, and embroidering of the wool, the villagers appeared to spend at least as many labor hours on making clothes as on producing the food to be eaten. And these people bought half the clothing ready made. Records show that before the invention of the steam engine and the great factory machines, that it could run most of the hours of the woman's day, and occasionally of the man's, were spent on textile related activities. In Europe, men typically helped tend and shear the sheep, plant and harvest the flax, and market any extra textiles available for cash income. End of quote. [01:56:45] Speaker D: All of a sudden, it's another time in another world and another state of mind. All of a sudden, it's another self, it's another vibration, it's another state of seeing. We have may been here before. We may have taken this path one time, long time ago. All of a sudden, it's another smile, it's another heartbeat, it's another smile. Style of thinking who can recall the flowers smell differently? And who can remember the embraces? Weren't this warm before? All of a sudden, it's a different world, it's a different time, it's a different mode of vision. All of a sudden it's a different path, it's a different time, it's a different sun in the sky. Warm feeling floods the world again. This time we're at the center of it all. [01:58:36] Speaker F: On Hobby websites, there are many accounts about the soothing and calming effect of needlework. A lot of people experience how a pleasant kind of calmness arises when. [01:59:07] Speaker D: As. [01:59:07] Speaker F: Soon as they start knitting, embroidering, or doing other kind of needlework. If you've never done needlework before, the feeling is best compared to the pleasant feeling you get from social grooming, someone combing your hair, or scratching your skin when it itches. Caress a pet and this pleasant feeling is being caused by the love hormone oxytocin that is being released in the brain when you caress, when your skin. Skin on skin contact when you have sex or while giving breastfeeding. Oxytocin plays an important role in attachment and in lowering stress levels. I not aware of any research on the influence of needlework on oxytocin levels in the brain. But when you look at the tactiles, connections between textile and skin, or hair and fur, but also the massaging, caressing movements of the fingers while doing needlework, and the fact that the baby hats or the potholder or the sweater that's being made is made for loved one. Most of the time, it seems to me that there is a connection. The repetitive movements that come with needlework, they have an effect on your breathing, and with that, on your mood, it stabilizes. Now I'm going to talk to you about the connection between witches and textile production. In historical depictions of witches, we see them often depicted holding a distaff and spindle, a tool you use for a spinning thread, because magical powers were attributed to them, similar to a magic wand. Also, the old norse word volva means both distef and wand. Vlfas were those who practiced shamanism, witchcraft, prophecy, and other forms of magic. They were socially highly valued. Norse mythology also has goddess Frigg, Odin's wife, who spun the clouds with her spinning wheel, and of course, the Norns who spun the thread of fate. You have to realize how hugely important the technology of making threat of fibers was for the survival of humans in prehistoric times. It was the most important technology and not weapons. As is still often assumed from fret. You can make a net or a bag with which you can gather much more food than with just your hands. Subsequently, you can build up stocks and with the help of clothes, humans could settle in cold climates. To illustrate this, I'm going to read about the textile production in prehistoric times from the book the Golden Threads by Cassia Sinclair. Archaeology has traditionally had a fundamental bias against fabric. Fabrics are, after all, highly perishable, withering away within months or years, and only rarely leaving traces behind for those coming millennia later to find. Archaeologists, predominantly male, gave ancient ages names like iron and bronze, rather than pottery or flax. This implies that metal objects were the principal features of these times, when they are simply often the most visible and long lasting remnants. Technologies using perishable materials such as wood and textiles, may well have been been more pivotal in the daily lives of the people who lived through them. But evidence of their existence has, for the most part, been absorbed back into the earth. So related to that is something from the same book. And it's about spiders. Spiders are remarkable. Over the course of a single night, and using only a self generated material, many species can build a vast multi purpose structure. To put it in human terms, it's like making a web the size of a football pitch and then using it to catch prey. Equivalent in mass to an aeroplane. Dating back nearly 380 million years, they have evolved into over 40,000 separate species. For the sake of comparison, humans diverged from chimpanzees just 7 million years ago, and there are just 400 different primates. Our species has grown up watching spiders. All the while, we struggled to master tools that would help us hunt, cook and sow. We were surrounded by pristine webs, each beaded by the body of its maker. It's no wonder that these creatures are woven so deeply in our psyches. We have had much to learn from their self sufficiency, their efficiency, their creativity, and perhaps especially their peerless prowess with silk. Democritus, a greek philosopher born around 460 bc, suggested that it was watching spiders make their webs and spin their egg sacs that gave humans the idea to spin and weave themselves. It's certainly true that there is a relationship. Some argue that spiders were originally called spinders from the word spin, perhaps because of their jewel role as maker and destroyer. Spiders appear in the creation myths of cultures, including the people of of pre columbian Peru, the Akan in Ghana, and some native american tribes, the hopi and Navajo, for example, have envisaged a spider woman hybrid who was responsible for weaving the cosmos from clouds and rainbows on an enormous loop, and whose generosity with her wisdom and skill allowed humanity to flourish on earth. Tribal weavers hoping to tap into the skill of this deity would rub their hands in spider webs before they set to work. End of quote. Silvia Federici argues in her book Caliban and the how the birth of capitalism in the late Middle Ages required a war against women. At the beginning of the 15th century, the persecution of witches led to the execution of hundreds of thousands of women. Up until then, the witches played an important role as a healer. As healer, midwife, fortune teller, and sorcerer. As old women, they were traditionally the ones that embodied knowledge and memory. The witch hunt destroyed a whole world of female practices, collective relations, and knowledge systems with the witch hunt, which started at the beginning of the 15th century. In the 16th century in Europe and America subsequently, the enclosure of communal lands and social relations took place. As soon as they lost access to land, all workers were plunged into a dependence unknown in medieval times. As a result, the physical enclosure operated by land privatization and the hatching of the commons was amplified by a process of social enclosure. The reproduction of workers shifting from the open field to the home, from the community to the family, from the public space to the private. The population decline caused by the plague made the state seek to break the control women had over their bodies and their reproduction. The outcome of these policies that lasted for two centuries was the the enslavement of women to procreation. The witch hunts demonized all forms of birth control and non reproductive sex by accusing women of sacrificing children to the devil. Midwives were labeled as child murderers, which led to the introduction of the male doctor into the delivery room. A new medical practice emerged. If there was an emergency, the fetus life was now given priority over that of the mother. [02:16:13] Speaker D: My heart in the Highlands my heart is not here my heart in the highlands o chasing the wild deer and following the rock silence where I go. [02:17:54] Speaker F: Back to Silvia Federici and her book Caliban and the Witch. The body was disciplined by the church and the state to transform it into labor power. The new strict working process became dependent on uniform and predictable behavior. I quote, a long process would be required to produce a disciplined workforce. In the 16th and 17th centuries, the hatred for wage labor was so intense that many proletarians preferred to risk the gallows rather than submit to the new conditions of work. Often they became beggars, vagabonds and criminals. This was the first capitalist crisis, one far more serious than all the commercial crisis that threatened the foundations of the capitalist system. In the first phase of its development. As is well known, the response of the bourgeoisie was the institution of a true regime of terror, implemented through the intensification of penalties, particularly those punishing the crimes against property. The introduction of bloody laws against vagabonds. Intended to bind workers to the jobs imposed on them, as once the serfs had been bound to the land. And the multiplication of executions. In England alone, 72,000 people were hung by Henry XV during the 38 years of his reign, and the massacre continued into the late 16th century. In the 1570s, 300 to 400 rogues were devoured by the gallows in one place or another every year. In Devon alone, 74 people were hanged just in 1598. But the violence of the ruling class was not confined to the repression of transgressors. It also aimed at a radical transformation of the person. Intended to eradicate in the proletariat any form of behavior not conductive to the imposition of a stricter work discipline. The dimensions of this attack are apparent in the social legislation that by the middle of the 16th, the 20th century was introduced. In England and France. Games were forbidden, particularly games of chance that, besides being useless, undermined the individual's sense of responsibility and work ethic. Taverns were closed along with public baths. Nakedness was penalized, as were many other unreproductive forms of sexuality and sociality. It was forbidden to drink, swear, curse. The body then came to the foreground of social policies. Because it appeared not only as a beast inert to the stimuli of work, but also as the container of labor power. In the 17th century, mechanical philosophy emerges. The mechanization and transformation of the body into a machine. And the related cartesian dualism of which Descartes was the founder. The body is separated from the person and literally dehumanized. The rational self lost solidarity with material reality and nature. This new separation is based on a master slave relationship. The task of the will is to dominate the body and nature. Women are weak and irrational and far from reason. Witches were associated with animals and bestiality, and animals became the ultimate other. At that time, there had already been a shift from the artist as a craftsman to the individual inspired artist. [02:24:10] Speaker A: Who. [02:24:10] Speaker F: Acquired a higher status by associating himself with the head and with inspiration instead of the work of the hands. And from the end of the 17th century, needlework increasingly shifted to the domestic environment. Embroidery, which had previously taken place in guilds, is now labeled amateur and associated with decorative frippery. Exemplary for this is that the then 800 year old Bayeux tapestry was first called carpet. While it is an embroidery in order to elevate it above any association with female handicrafts. [02:25:19] Speaker B: The two following songs are from Rory Pilgrim again. Firstly, we're going to listen to beyond the Echo, sung by Robin Haddon, and is a recording in a state of development, shared through an intimate phone recording while being rehearsed. The second track, straight after, is called Three Waters again, sang by Declan Rowe. John. And explores the desire for rest and calm in the face of crisis. As Rory Pilgrim says, quite fitting for today. [02:27:09] Speaker D: But who has told who gets to hold? Somehow I got this feeling? But somehow I cannot see? I feel something's over? Something's over? Some things, some things go back? The sky rose out of vision? Somebody? Somebody? Somebody? Somebody? Somebody? Wanna wait in the waves of something good for us? And the rivers and the lakes are something that we trust? Come into the house? Take a look around? Have a bite to eat? Maybe have a sleep? You can lie down what does love feel like? Can we name what will be lost? What does love sound like? Can we name what is already lost with a document? With a document that reveals somebody's future? Somebody. I don't know. Somebody, somebody, somebody, somebody? [02:33:33] Speaker A: And that was Rory Pilgrim with three waters. You're still listening to the power of doing nothing on yay nay nay nay. And, yeah, I hope you're still listening, but that you're also relaxing, relaxing with us today, taking some rest, or maybe doing some mending. During the piece from Emeline. I was thinking of this broadcast as a way of maybe cooking a slow soup, because that's sometimes something I do, which relaxes me, because if it is soup, not so much can go wrong, and you can do it quite slow, and it's not so much about exact measurements. So maybe that's the kind of activity that would fit for this radio show to move in and out of it for the coming 30 minutes, we invite you to loiter even more, and it's an invitation from Bee bee residency. So maybe consider this as a. A 30 minutes break or mini residency even. I will give a bit more context afterwards. But, yeah, let's have a listen. To be with Domini Abandonati. [02:36:01] Speaker H: B is a tentative nomadic residency with no compulsory production, no theme, no company registration number needed, no grants, no participation fees, no. [02:36:15] Speaker A: Educational workshops, no staff studio, no artistic research no equipment, no insurance, no obligation of being free of all professional activities during the residency. No contract, no visibility. [02:36:35] Speaker E: V is not a project. [02:36:37] Speaker F: It is a collection of discussions, gestures, thoughts and deeds. Every formulated idea has a clear and. [02:36:44] Speaker D: At the same time is a forecast. [02:36:45] Speaker E: And a hope for the future. [02:36:48] Speaker F: B is collective, as it harbors many individuals. [02:36:51] Speaker B: It is temporary group whose number is neither fixed, limited, nor relevant. Neshunguardiano Neshuna in algoration Internet Neshun catalog esper rari visitatori Neshun Orario de Gusura. [02:38:48] Speaker F: Nessun support institutional Nessuna Nesunfuturo Ankora in. [02:38:54] Speaker B: Editor. [02:39:23] Speaker A: B offers accommodation, glitter, sunscreen, some meals, and possibly a bike. [02:39:51] Speaker I: B has an imperceptible budget. No exhibition venue, a blurry curatorial line, no pavilion, inefficient communication. No competition, few attendants, no opening, no entrance fee. An archaic website. No glossy catalog. [02:40:12] Speaker H: No age limits. [02:40:13] Speaker G: No age limits, no nation, no nationality, no gender. [02:40:17] Speaker H: Low experience. Rare visitors. No opening hours, no institutional support. No ambition, no future. [02:40:26] Speaker I: Still unprecedented. [02:40:26] Speaker H: Unprecedented. [02:40:59] Speaker D: It's. [02:41:27] Speaker F: Batretempo for the lord. Hospitale la sene di longo el invencione din memento con diviso de catalogue. [02:43:07] Speaker I: Pastel the mechanist protector. [02:43:47] Speaker H: B offers a recreational space in various places at different times. Conceived as a retiro, a retreat introduces the paradox of a time and space out of the ordinary but yet familiar, a homey feeling at the end of a journey. It is the invention of a shared moment dedicated to slowness, to an active rejection of any urgency, as it is the common creation of a vacant space of enjoyment, generous and productive. [02:45:42] Speaker I: Luanda Sant moen Montuistic Lou village de Milo, shula Flandeletna Freda Catan suture sanctioned season the circle. [02:46:49] Speaker D: Yeah, it's okay. From Akita. From Akita. Do we have to find our way back home or. You get it. My friend from a ketaki asked her. [02:47:06] Speaker E: To buy some. [02:47:15] Speaker D: Laughs. I think they have better means as a second. Actually, I can't really differentiate what I think. Quite nice. The one that I picked already. And she said, this is shooting with monos, but don't ask me why. I'm not sure whether at 10:00 a.m.. 10:00 a.m.. Matsudo. But like really far from paradise. No, it's not far from paradise. Yeah, it's not inside paradise. Very nice. [02:47:52] Speaker B: I think it's okay for you to drink such. [02:47:55] Speaker D: You want to skip the tomorrow? [02:48:01] Speaker H: B is a geodesic line stretching across western Europe, a diagonal joining finisterre to the French Riviera, cutting course in half and traveling across italian coasts, across Sicily and above Mount Etna, it links two irrelevant places, far from any centre, moderately attractive for tourism. The village of Milo, on the mountainside of Etna, near Catania, Sicily, sits 500 meters high, 20 minutes from the sea by car. The Renne is a small locality in Finisterre, Brittany, at the entrance of Morlaix Bay, with its several notorious islets. At some point this line broke in midair and we fell in Sezen, a village sitting 1100 meters high on the massif of Kantal and its extinct volcanoes, with a population density of 6.9 people per square kilometer, dropping since 1968. From there we entered a cavity, crawled through a hollow path, and in the most improbable way, ended up on the other side of the planet. [02:49:27] Speaker I: Which one is this, then? [02:49:30] Speaker D: Oh, she said, crab. [02:49:31] Speaker A: Looks like our spider crabs. [02:49:43] Speaker C: It's so much easier, she said. [02:49:46] Speaker D: Fry a pot of onions. When almost cooked, add the more beef. That's it. Make the potatoes and then add to it. So the alto is starting. Really, though, maybe. [02:50:06] Speaker A: Maybe she's going to tell us something. Kill them in the microwave for this. [02:50:50] Speaker I: Ampiano ampatitolid minisri ancestor anaxe facility Avasto Schwa de speciality from AJ de Chauman Rondoni flan Montana bloco salmon il de la bay la mercury on crew don't. [02:51:27] Speaker D: Have to remember. [02:51:31] Speaker I: Rosemary is amazing. [02:52:07] Speaker F: La Residential artistio scriptori architecti vernaculari practice actor Bibliote Carri auto dart film producer Dizunbotti Faliniami Bilingual ballerini, maleducati desert ricci de socad media assistanti di Volumanchi Yogi, communista Moroce, Goliarda, Sepulchia. [02:52:36] Speaker D: Malandrinia. [02:52:42] Speaker F: Commercial. [02:52:45] Speaker B: Physics. [02:52:46] Speaker F: In nucleari, Zapatisti fugitive algorithm Sankaristi, Physicia interventicus, medici, Domini abandon. [02:53:23] Speaker D: Our naijaya shirkasayasai, Gandhi. Go dinosaur. [02:53:51] Speaker I: Hello. Hear this. Hi, how are you? Hello. Not really well. Can you hear me okay? We are trying to record the song again, but. But we just have the four voices of yours and it's really tricky to get the tenor and bass part. And we wondered if you could help just singing in the beginning. [02:54:55] Speaker H: During the residencies. B offers accommodation in a house with slightly radioactive stone walls or barely drinking water, usually excellent air quality. Private rooms, a shared kitchen, whirlpool baths, glitter, sunscreen and woolen jumpers. Some meals and 24 cold beers, possibly a bike. A garden with savage grapes and hydrangea, pine, cherry, apple trees and endemic pears, easy access to various culinary cheese board deluxes or to interesting sites, coast trails, islands, Etna craters, Second World war bunkers, Tokyo parasitological Museum, and more. Internet access, sometimes through a shared 4G connection, a small wood workshop, a painting set, a printer, a view on the sea, on Mount Etna, on extinct volcanoes, or on the overflowing Edo river. [02:56:57] Speaker I: Maybe we could turn it so that we have at least like all this. [02:57:14] Speaker D: I should be an evangelical caprice for Amazon. [02:57:19] Speaker I: La residence etouverteven rigid vernacular au galris to chaumage au bilange au ballerine malaprise au deserter de revolution opilod dolly negotiate o yogi communist negronui obu recitable biologic durable eco responsible Monte dyslexic the trading cosmetic. [02:58:23] Speaker D: Unstoppable yes, unstoppable power. Correct. It's like extremely hot, extremely fast, 90% faster. [02:58:34] Speaker I: Is it possible? [02:58:36] Speaker D: With p power everything is possible. P power. [02:58:43] Speaker I: My friend told me it was p power. [02:58:44] Speaker D: At first I didn't believe it, but. [02:58:47] Speaker I: Then I started the music and in. [02:58:51] Speaker D: Only one week I gained so much power. Couldn't believe it. [02:59:32] Speaker A: I arrived and I didn't even had to introduce myself. It took not much time to peel off layers so the sprout could become unwrapped again. It took eight strangers who met up without any further introduction. It took pictures for breakfast, making a bed on the floor of the kitchen woolen blanket seventies orange a ten hour hike to the volcano silk pajama pants resting on endless hills of black lava stone red wine from plastic bottles a crate of 23 kilos of tomatoes singing along with Lizzo in the car cutting 23 kilos of tomatoes bruschetta Sugo parmigiana finding a deserted house making plans for a deserted house conversations during cutting tomatoes spitting on dusty towels of the floor of a deserted house colors brightening up again looking agave leaves leaves that mark each other shadows forgetting about makeup wearing borrowed woolen jumpers an improvised family in woolen jumpers red wool mixed with golden threads sea green soft wool classic broken white lambswool enough options for the age of us brakes at the bar Granita Quinotto Arancini loitering close to a river throwing pebbles a night drive to a small village on the mountain Lizzo playing in the car climbing the mountain overseeing not much shadows. [03:01:30] Speaker D: It. [03:02:09] Speaker H: This residency is proposed for idol artists, paperback writers, vernacular architects, abstract practitioners, self taught librarians, full time career karaoke singers, monolingual translators, limping archaeologists, bilingual woodworkers, ill mannered ballet dancers, social media deserters, left handed flight attendants, employed poets, communist polyamorous, yogis, childish gambino, all repentant managers and cursed insurance inspectors, real estate roads runners, complicit accountants, non binary hackers, anarchist lawyers, ayurvedic tugs, organic fair trade permaculture, eco sustainable shutters, impatient waiters, zapatists, nuclear physicists, blind video game. [03:03:07] Speaker I: Video game referees, dyslexic hierarchy. [03:03:14] Speaker H: Close to fobby witches and bakers, tankarist, horse riders. [03:03:20] Speaker I: Whistler horses. [03:03:23] Speaker H: Interventions, unoccupied domains, etcetera. [03:04:00] Speaker A: The application must be sent by email to come and loiterereside before the 29 May 2019 without any attached vowel, no resume, no portfolio, no project, no motivation letter, no reference letter, no filled form attached, nor any other document explaining the candidate's practice. You just listen to a contribution by being B B as Diana Duta with Julianne von Anholt, Angeliki Torzakaki, Enrico Floridia, Jerome Devienne and also myself and the voices of Irene Aleci, Leo Pei, Sin Mio Fujimaki, Benoit Fidal, Mael de Manard, Lea de von Sorrentino and Juris Hirsch. BeA is an artist residency co organized by Enrico Angeliki and Jerome since 2018, and when I read their open call last year, it just popped up on my timeline, as sometimes happens when I read their open call that didn't offer much but also didn't demand anything. I decided to reply with an email with no further information, as they asked for, and somehow I got selected. So I joined B to loiter together in Sicily in September 2019. And we indeed didn't do much. We didn't do much else than cooking and chatting and swimming and hanging around. But it also made me aware how doing nothing is important sometimes, but kind of that actually be quite difficult to do. So it helps when someone organizes a possibility to loiter. And when I think of b, I sometimes also think about how the initiators are often very busy with this organization, of doing nothing, but whoever joins b also becomes b. So that's why you also heard my voice somewhere in between and outside of these voices. The piece consisted of recordings from participants from various locations where bee has taken place in the last years, such as Terenai and Cezanne in France, Milo in Sicily and Matsudo in Japan. And I'd like to thank Diana Dutta for all the work to make also a composition out of all this material, because it was quite a trip. [03:08:26] Speaker C: How did you get everyone one together? Like, how did you organize all these people to send in all of these contributions it seems like, you know, there's so much going on and there's so many people involved. I'm just curious what the process was like. [03:08:40] Speaker A: Yeah, I think I didn't organize so much of that. I think that's mainly Enrico Angeliki and Jerome, as they are more like the organizers of be. But there is something interesting that there feels sometimes like it's a kind of network that happens because I only joined for this week in Sicily with a few people, but then they have a kind of overview of also other people who have participated before. And there's also people like Diana, who. Yeah, we met more virtual, I would say we never met in person, but I know of her and of her work, and I know that she works with sound and there's some kind of loose network of people who have participated and then got in touch later. So it's a lot through the regular email, Google Drive, Dropbox situation where you join from a distance. And that's also something that I remember from the residency itself, that it did feel a bit like a holiday with strangers where we actually really didn't talk about work, but that afterwards people started to email each other or sometimes send each other references. So more the thinking or the more like work connections for me happened also later, more digital, and not when we were actually in the same house for a while. Yeah. [03:10:04] Speaker C: Cool, huh? [03:10:06] Speaker A: It's really something that. Yeah, I think it's also a bit of a secret. Not everyone should apply, so that. No, no, but it's something that I think would be good for anyone, you know, this experience. So I hope a little bit came through, maybe through the. Through the broadcast. [03:10:24] Speaker C: Yeah, I really like that. This kind of feeling just sort of like walking through a city. Like the way it starts with just the sound of footsteps, and then it really gets you. You into this feeling of slowly loitering around, which is really great. Speaking of slowness, this broadcast is going. [03:10:47] Speaker A: Faster than we expected because we only have, I think, two pieces left, if I'm correct. [03:10:54] Speaker C: Yes. And the next piece also takes slowness as its starting point. Point. It's called slug like and slow. And it's by Naomi Crede, Melissa Canisabus, and Aiden Wall. And the first time I met Naomi was actually at the Sandberg Institute here in Amsterdam. And I met her in this installation that she was creating where we had to lie down on this silver pillow, and I had to put, like, a lavender eye mask over my eyes and listen to this recording that she made. And the idea was that we would all be together in this kind of collective dreamscape environment. And since then she's also done quite a few projects around sleep, also making like a sleep symposium for a few days at the Rietveld, and her current research now revolves around disorientation, voice, and loss of control in relation to real and fictional spaces. Her work takes a variety of forms, often incorporating writing, bodies, sounds, and props in order to create immersive spaces and collective moments. And for this piece, Naomi worked together with Melissa. And Melissa's work investigates and proposes alternative methodologies for producing conceiving spaces of relation with dedication to environmental and ecological preservation and the protection of non anthropocentric beings. Her work often examines the marginal and border spaces between cultivated space and spaces of wilderness places where nature and culture co emerge into living realities. And finally, the music that you'll hear for this piece was composed and made specifically for this work, which is really beautiful. And it was made by Aidan Wall, who's a writer, an artist, game designer and musician from Dublin, and they release music under the name Blusher. So let's get into slug. [03:12:55] Speaker A: Slug like world. [03:13:37] Speaker G: Swamped with exhaustion, you lie there perfectly still in a perpetual state of drowsiness. One two gelatin sheets, a quarter cup. [03:14:06] Speaker A: Of whole milk. [03:14:09] Speaker G: A half cup of cream, three tablespoons of ricotta, and a sprinkle of spirulina. Steady and sedated, sluggish and exhausted. Slug like and slow. I'm going to begin by warming up the milk and cream a little bit, just enough for the gelatin sheets to begin to soften and relax into the milky liquid. Whilst it's soaking, I'm going to mix the sugar and antioxidant rich matcha powder together, whisking carefully so there's no clumps. We want to it to be smooth and evenly spread. Groggy, sluggish, exhausted, slug like and slow. There's a noticeable weight to your body, a kind of heaviness present, making any kind of movement of your limbs seem implausible. I'm going to mix three tablespoons of ricotta with the matcha powder and a sprinkle of superfood spirulina until it reaches a thick, fatty consistency, allowing the matcha and spirulina to form a two tone color within the mixture, sea foam green with streaks of seaweed. Next, I'll reheat the milk and cream mixture so that half the gooey gelatin sheets can fully dissolve. Then, slowly adding the sugar, matcha whisking it forms a cohesive consistency. [03:18:17] Speaker F: See. [03:18:24] Speaker G: We will now need to wait until it reaches a hot, bubbling, milky green liquid and then we'll let it cool. There's a pulsating heat and a slight prickly it's just below the surface of your skin. It wavers around your hands, the tips of your fingers. Sometimes it reaches your legs, crawling through your thighs, past your knees, down your calves, and slowly moving its way towards your toes. You feel what it feels like for your body to sink downwards into the mattress. How the flatness of the foam alters its form, indenting slightly and moulding itself to the curves of your flesh, holding you in place and keeping you comfortable amidst your discomfort. Two and a half cups of flour. Four teaspoons of baking powder, one teaspoon. [03:20:55] Speaker D: Of salt. [03:20:58] Speaker G: One cup of sunflower oil. Next ill strain the liquid and pour it into the molds before adding a dollop of the ricotta mixture. A slow process. It needs to rest for 6 hours or so so that the mixture is able to fully congeal and form a wobbly jelly. It should be able to glide out of the molds and hold its own shape steady and sedated, sluggish and exhausted, slug like and slow. Two thirds of a cup of sugar, four tablespoons of lemon juice, three eggs, and a sprinkle of spirulina. You close your eyes and feel yourself floating on the surface of the water, wetness on your skin and the weightlessness of your body as you lie there, gentle waves momentarily rocking you backwards and forwards. Crystal clear liquid turns to cloudy, a murky, muddy greenish color. The water begins to gradually congeal and clump, chlorophyll colored puddles congregating on the surface, cushioning the weight of your thinking body fluids, turning solid liquid consistency, carefully transforming into a kind of slippery sage green jelly. You move your hand a little and feel the sludgy, slimy texture getting stuck to your fingers. It hard for you to move, gooey sediment engulfing your fingers and hands. It glides up your arms, your shoulders, down and chest, your stomach, hips, thighs, feet, until your entire body is coated in a sticky residue. One and a half, one half gelatin. [03:26:00] Speaker A: Sheets. [03:26:03] Speaker G: A quarter cup of whole milk, a half cup of cream, three tablespoons of ricotta and a sprinkle of spirulina. Gloopy and gelatinous stickiness sticking to sticky skin and sticky thoughts. You remain submerged very still, suspended just below its surface, cushioned and cocooned by the water's newly formed thickness. First, I'll heat the oven to 160 degrees celsius then I'm going to start by sifting the flour and baking powder together so that each is evenly dispersed. When we add the flour to the wet mixture. [03:28:27] Speaker D: I'll add the salt and. [03:28:29] Speaker G: Then I'll puree the spinach with half of the oil in the mixer. Next, I will add the sugar to the puree, followed by the lemon juice as well as the remaining oil and the eggs. One by one. Gradually, I'll add the flour until it reaches reaches a thick, gloopy, fluorescent green consistency. Now that the mixture is ready, I will oil and flour the baking dish so that it doesn't stick. Pour in the mixture slowly and bake for 1 hour. Thick, muddy water sinks shallower and shallower as the liquid soaks into the ground. The expanse of the dull sky above you extends out a blanket of dense grey clouds, expanding and contracting, hot and humid and heavy. Your stillness is fighting against the desire to stretch out and move, but the weight and stickiness of your body makes it impossible. Lifeless, exhausted limbs held in place, stickiness sticking to sticky skin and thought suspended, stuck, cocooned and cushioned, you try to wriggle your swaddled body ever so gently, slug like and slow. You imagine what it would feel like to be a slug. Slowly gliding, you concentrate on the texture of your skin as its smoothness turns to a rough but slithery texture, body stretching out and transforming into a uniform, blob like shape, gripping onto the surface beneath you and moving in sedated, rhythmic waves of muscular contraction. Friction of your rough skin against the ground is overcome by a production of slippery slime, allowing you to glide ever so slowly, steady and sedated, sluggish and exhausted, slug like and slow. Now it's time to assemble. I'm going to heat some water and add it to a bowl, which then I'll place the molds in. This will loosen the panna cotta and help the gelatinous mound slip out onto the plate. Now that it's on the plate, I'm going to finish it off by sprinkling it with some spinach, moss cake and some previously chopped pistachio. And last but not least, I'm going to drizzle it with some spirulina honey glycerin to get those dark, shiny puddles. Opening your mouth, you decide to taste some of the sticky, gloopy, gooey slime, the soft, silky jelly texture resting on your tongue. A pool of bubbly saliva forms around it, mixing into the syrupy sweetness as it melts into a taste buds. Sweet, slimy liquid trickling down your throat, a little sickly, but earthy. A chalky matcha taste, followed by crunchy, salty pistachios. Springy, mossy, slightly gritty ricotta, steady and sedated, sluggish and exhausted, slug like and slow, one and a half gelatin sheets, a quarter cup of whole milk. [03:36:24] Speaker D: A. [03:36:24] Speaker G: Half cup of cream, three tablespoons of ricotta and a sprinkle of spirulina. Two and a half cups of flour, four teaspoons of baking powder, one teaspoon of salt, one cup of sunflower oil, two thirds of a cup of sugar, four tablespoons of lemon juice, three eggs, and a sprinkle of spirulina. [03:38:17] Speaker C: So the piece you just heard was interwoven with a recipe from Melissa, who also makes tarts under the name cosmic tarts. They're really intricate and beautiful and respond to the cycles of the moon and other geological events. So follow her on Instagram if you're interested in seeing some of the amazing things that she creates. So we're almost at the end, and we're also getting sleepy over here, slug like. So, before we move on to our final piece, just wanted to make a little announcement that this is like, the first of two events, and the second event is going to be more of a discursive broadcast, a conversation which is going to happen on June 5. And we're going to be in conversation with Joy, Mariama Smith, Quincy Garden, and Flavia Dodan. And we've asked them to come into a conversation on similar themes that we're touching on here, but entering into it from the perspective of their own practices and looking at the politics behind the productive body, whether there's a need for exhausting activism or if the act of doing nothing can be productive power by itself. So join us also, also online here on the AYa Nene website at 05:00 next week on Friday. [03:39:52] Speaker B: Yeah, and that's going to be hosted by Framer Frames. We also want to take the opportunity to thank the stimulatings funds for creative industries for supporting us to make these events happen, and thank also hereby all the artists contributing to the broadcasts. [03:40:11] Speaker A: Maybe I'd also like to thank the silent force in the studio today, Monty, because he was not on air, but he was definitely on air. And if you maybe tuned in a bit later or you want to listen back or you want more information, we will archive this whole broadcast. And also on the website, you can find information about the artist and the full credits. [03:40:35] Speaker B: So that's yay. [03:40:37] Speaker A: Nay, nay, nay.com and then I would like to introduce the final piece of this broadcast. And it's by Jojin Lee, an artist who has been working with the topic of sleep and rest for a while already. She asked herself questions like what does a sleeping being become against the backdrop of a world that is lit 24 hours? And what does this state of repose mean when there is no time to pause? How can one exist as a sleeping thing? Can one dream of hibernation and its potentialities? What does it mean to have an asynchronous biological clock? What lullaby could one sing so, based on? Based on her publication, as long as there is time to sleep from 2016, Jo Jin Lee composed a body of works that takes each of his chapters as points of entry into the fluctuating textures of sleep. And the 8th chapter, called Dormant Buds on Twigs, became a lullaby through collaboration with Giuseppe Termina. And we have broadcasted the piece before. I think that was in 2018, but we're bringing it back on air for today and then thinking about bringing it back on air in this specific time. Revisiting the piece from our current perspective, Jojin and I exchanged a few emails and I think I'm going to read a bit from her email as an introduction to the lullaby. So she I believe it is true that rest and sleep are dependent on society because a sleeping being and a sleepy being is vulnerable. Sleep relies on mutual trust and mutual care. When these are threatened and protective systems are broken down, what could be a sign of care that surpasses the logic of profitability and productivity, or perhaps better still, an act of care? I've been asking, and still struggling to be honest with you. I listened to this recent conversation between Tina Kampt, Saidiya Hartman, Simone Lee, and Okuyo Okpokwasili, during which Tina said she is trying to reconcile the non stopness that's being demanded of so many people on the one hand, and the slow downness that is being demanded at the same time of many of us as well? And this resonated with me. She went on to talk about understanding slowness as not only a question of kinetics, but also of intensities, of generating an intense field of microperception, and asks, what if we actually mobilize slowness? I felt there's something to hang on to there. I'm wondering if it's possible to think of this sign of care, act of care as a lullaby. When you sing a lullaby to someone, you're there for them, a simple presence, but a caring one. But you also slow down the time, perhaps to the rhythm of the body of the one youre singing to and your own. Perhaps that would allow a drifting but intense perception of our exhaustion. And perhaps something can start from there. [03:45:16] Speaker D: Of that sign of dormancy, perhaps fury, perhaps brittle lights up inwards, only inwards against being used up, exhausted. A light inwards. Wow. The open glows in led just around the corner of the eye, the eye that was about to close but opens. [03:46:00] Speaker G: And opens and opens, opens the green eye. [03:46:04] Speaker D: The not yet green budget opens a light emitting diode. Voltage runs, electrons recombine. Energy manifested as photons to the closing now open eye. I'll take care of you, of your tired eyes imperative of your green eyes now to sprout a leaf of bloom, of flowers there as what might come, but not yet come. Close your eyes again. External manifestation. I'll cover your soul, knowing of instantly fulfilled desires permanently set the anode and cathode emotion a constant current. Lay it down. Let this wave. Let them wait. It can wait. I'll sing that hesitant. [03:50:26] Speaker G: Oscillation of waiting. [03:50:50] Speaker D: Thank you for waiting.